But other things are required of a writer of Short-stories which are not required of a writer of Novels. The novelist may take his time: he has abundant room to turn about. The writer of Short-stories must be concise, and compression, a vigorous compression, is essential. For him, more than for any one else, the half is more than the whole. Again, the novelist may be commonplace, he may bend his best energies to the photographic reproduction of the actual; if he show us a cross-section of real life we are content; but the writer of Short-stories must have originality and ingenuity. If to compression, originality, and ingenuity he add also a touch of fantasy, so much the better. It may be said that no one has ever succeeded as a writer of Short-stories who had not ingenuity, originality, and compression, and that most of those who have succeeded in this line had also the touch of fantasy. But there are not a few successful novelists lacking not only in fantasy and compression, but also in ingenuity and originality; they had other qualities, no doubt, but these they had not. If an example must be given, the name of Anthony Trollope will occur to all. Fantasy was a thing he abhorred, compression he knew not, and originality and ingenuity can be conceded to him only by a strong stretch of the ordinary meaning of the words. Other qualities he had in plenty, but not these. And, not having them, he was not a writer of Short-stories. Judging from his essay on Hawthorne, one may even go so far as to say that Trollope did not know a good Short-story when he saw it.